DOCSLIB.ORG

Cultivating the Crafts: Aileen Osborn Webb and the Instituting of American Craft, 1934-1964

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cultivating the Crafts: Aileen Osborn Webb and the Instituting of American Craft, 1934-1964 CULTIVATING THE CRAFTS: AILEEN OSBORN WEBB AND THE INSTITUTING OF AMERICAN CRAFT, 1934-1964 Stephen Brandon Hintze Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2008 ©2009 Stephen Brandon Hintze All Rights Reserved Table of Contents List of Illustrations………………………………………………………..…...ii Preface………………………………………………………………………..ix Introduction……………………………………………………….…………...1 Chapter 1: The 1910s-1920s: A Philanthropic Beginning………..….………..4 Chapter 2: The 1930s: Marketing the Crafts………………………….…..….15 Chapter 3: The 1940s: Advocacy and Outreach..……………………………20 Chapter 4: The 1950s: Exhibitions and Conferences………..…………….…32 Chapter 5: The 1960s: Diplomacy through Craft…….……………….……..41 Conclusion……………………………………………………………….…..53 Appendices…………………………………….……………………………..55 Appendix 1: Family Tree of Aileen Osborn Webb………………………..…56 Appendix 2: Amended By-Laws— World Craft Council…...…………....…57 Appendix 3: A Suggested Plan for Rural Development………………..........65 Bibliography…………………………………………………………………75 Illustrations……………………………………………………………….….83 i List of Illustrations Fig.1 Aileen Osborn Webb in her apartment potter’s studio, New York, New York, 1966. From Rita Reif, “A Mover in the Field of Crafts,” New York Times, January 8, 1966. Fig. 2 Osborn Family Photograph, Garrison, New York, c.1900. From Osborn Family Archives, Garrison, NY. Fig. 3 Aileen Osborn Webb as a young debutante, New York, New York, c.1910. From Aileen Osborn Webb Papers, Shelburne Farms Archives, Shelburne, VT. Fig. 4 Aileen Osborn as a young, engaged woman (top); Aileen Osborn and Vanderbilt Webb during their engagement, probably Garrison, New York, c.1912 (bottom). From Aileen Osborn Webb Papers, Shelburne Farms Archives, Shelburne, VT. Fig. 5 Aileen Osborn Webb, Pitcher, earthenware, c.1970s. From Collection of Richard Webb, Sunapee, New Hampshire. Fig. 6 Aileen Osborn Webb, Wood carving, walnut, c.1920. From Collection of Richard Webb, Sunapee, New Hampshire. Fig. 7 Old-English style cottage used for Biltmore Industries under Fred L. Seely (top); Fred L. Seely, who purchased Biltmore Estate Industries from Edith Vanderbilt in 1917 (bottom). From Melinda B. Willms, “Biltmore Estate Industries: Common Things, Done Uncommonly Well.” Style 1900, 21, no. 2, Summer 2008: 68. Fig. 8 George and Edith Vanderbilt photographed at Buck Spring Lodge on Biltmore Estate, Asheville, North Carolina, c.1912. From Melinda B. Willms, “Biltmore Estate Industries: Common Things, Done Uncommonly Well.” Style 1900, 21, no.2 (Summer 2008): 64. Fig. 9 Biltmore Estate Industries, c. early 1900s, Asheville, North Carolina. From Melinda B. Willms, “Biltmore Estate Industries: Common Things, Done Uncommonly Well.” Style 1900, 21, no. 2 (Summer 2008): 65. Fig. 10 Edith Vanderbilt photographed wearing a tailored suit likely made of Biltmore Homespun, c.1924. From Melinda B. Willms, “Biltmore Estate Industries: Common Things, Done Uncommonly Well.” Style 1900, 21, no. 2 (Summer 2008): 67. ii Fig. 11 America House Showroom, facing Madison Avenue, New York, New York, c. 1940. From Morris Ketchum, “An Architect Advises on Display or Planning America House,” Craft Horizons 2, no. 3 (November 1943): 3. Fig. 12 Crafts sold through America House catalogue, c. 1949. From America House Catalogue, America House Subject File, American Craft Council Archives, American Craft Council, New York, NY, c.1949. Fig. 13 Craftsmanship in New England, exhibition, America House gallery, New York, New York, 1944. From “What’s New Under the Sun?” Craft Horizons 3, no. 5 (May 1944): 3. Fig. 14 Aileen Osborn Webb viewing The Hands of Servicemen, exhibition, America House gallery, New York, New York, 1944. From “What’s New Under the Sun?” Craft Horizons 3, no. 6 (August 1944): 3. Fig. 15 The Hands of Servicemen, exhibition, America House gallery, New York, New York, 1944. From “What’s New Under the Sun?” Craft Horizons 3, no. 6 (August 1944): 3. Fig. 16 Show How, exhibition, America House gallery, New York, New York, 1944. From “What’s New Under the Sun?” Craft Horizons 3, no. 6 (August 1944): 3. Fig. 17 Glass artist Maurice Heaton (left); Show How, exhibition, America House gallery, New York, New York, 1944 (right). From American Craftsmen’s Council, The Craftsmen’s World: Third Annual Conference. New York: The Council, 1959, 125; Craft Horizons 3, no. 6 (August 1944): 3. Fig. 18 Hands Across the Border, exhibition, America House gallery, New York, New York, 1945. From “News of the Educational and Cooperative Councils.” Craft Horizons 4, no. 9 (May 1945): 30. Fig. 19 The Fascination with Wood exhibit, America House gallery, New York, New York, 1945 focusing on historic woodwork. From“News of the Educational and Cooperative Councils.” Craft Horizons 4, no. 9 (May 1945): 31. Fig. 20 The Fascination with Wood, exhibition, America House gallery, New York, New York, 1945 showcasing the best in contemporary woodwork. From “News of the Educational and Cooperative Councils.” Craft Horizons 4, no. 9 (May 1945): 33. iii Fig. 21 Free Forms in Ceramics, exhibition, America House gallery, New York, New York, 1946. From “Three Exhibitions.” Craft Horizons 6, no. 14 (August 1946): 31. Fig. 22 Creations in Tin, exhibition, America House gallery, New York, New York, 1946. From “Three Exhibitions.” Craft Horizons 6, no. 14 (August 1946): 32. Fig. 23 The Master Craftsmen of Tomorrow, exhibition, America House gallery, New York, New York, 1946. From “Three Exhibitions.” Craft Horizons 6, no. 14 (August 1946): 33. Fig. 24 Halgarten Hall, School for American Craftsmen, Dartmouth College, Hanover, New Hampshire, 1945. From “News of the Educational and Cooperative Councils,” The School for American Craftsmen”, Craft Horizons 4, no.10 (August 1945): 4. Fig. 25 Interior of woodworking shop, School for American Craftsmen, Dartmouth College, Hanover, New Hampshire, 1945. From “News of the Educational and Cooperative Councils,” Craft Horizons 4, no.10 (August 1945): 4. Fig. 26 Photographs showcasing Alden Wood (top) and Linn Phelan (bottom), faculty members of the School for American Craftsmen, Dartmouth College, Hanover, New Hampshire, 1945. From “News of the Educational and Cooperative Councils,” Craft Horizons 4, no. 10 (August 1945): 5. Fig. 27 A student putting the finishing touches on a wooden tray, School for American Craftsmen, Dartmouth College, Hanover, New Hampshire, 1945. From “News of the Educational and Cooperative Councils,” Craft Horizons 4, no. 10 (August 1945): 6. Fig. 28 Photograph of Marian Haille and the development of a ceramic tile, School for American Craftsmen, Dartmouth College, Hanover, New Hampshire, 1945. From “News of the Educational and Cooperative Councils.” Craft Horizons 4, no. 10 (August 1945): 9. Fig. 29 Frans Wildenhain, Mythological Scene, sculptured ceramic tile,1950. From Harold Brennan,“The School for American Craftsmen.” Craft Horizons 20, no.3 (May/June 1960): 24. Fig. 30 Hans Christiansen, Punch Bowl and Ladle, silver, 1951. From Harold Brennan, “The School for American Craftsmen.” Craft Horizons 20, no. 3 (May/June 1960): 24. iv Fig. 31 Aileen Osborn Webb, at her penthouse apartment, New York, New York, 1958. From Harriet Morrison, “With a Skyline View.” New York Herald Tribune, June 24, 1958, 24. Fig. 32 Living Room of Aileen Osborn Webb’s penthouse apartment, New York, New York, 1966. From Rita Reif, “A Mover in the Field of Crafts.” New York Times, January 8, 1966. Fig. 33 Dining Room of Aileen Osborn Webb’s penthouse apartment, New York, New York, 1966. From Harriet Morrison, “With a Skyline View.” New York Herald Tribune, June 24, 1958, 24. Fig. 34 Bathroom of Aileen Osborn Webb’s New York City apartment. From Rita Reif, “A Mover in the Field of Crafts.” New York Times, January 8, 1966. Fig. 35 Glass House, Aileen Osborn Webb’s Vermont residence, Shelburne Farms, Shelburne, Vermont, c.1960, photograph by author. Fig. 36 Dining Room of Glass House, Aileen Osborn Webb’s Vermont Residence. From Rita Reif, “A Mover in the Field of Crafts.” New York Times, January 8, 1966. Fig. 37 Glen Michaels, Mural, slate, Glass House, Shelburne Farms, Shelburne,Vermont, c.1960, photograph by author. Fig. 38 Modern table exhibited in Contemporary Furniture from the School for American Craftsmen, America House gallery, c.1951. From “Craftsman’s World: Furniture from the School for American Craftsmen,” Craft Horizons 12, n.1 (January 1952): 41. Fig. 39 Modern side chair exhibited in Contemporary Furniture from the School for American Craftsmen, America House gallery, c.1951. From “Craftsman’s World: Furniture from the School for American Craftsmen,” Craft Horizons 12, n.1 (January 1952): 40. Fig. 40 George Wells, Rug, exhibited in Designer Craftsmen, U.S.A., organized by the American Craftsmen’s Educational Council and the Brooklyn Museum, 1953. From Dorothy Giles. Designer Craftsman, USA. New York: Blanchard Press, Inc., 1953, 6. v Fig. 41 Edwin Scheier, Bowl, earthenware, exhibited in Designer Craftsman USA, organized by American Craftsman’s Educational Council and the Brooklyn Museum, 1953 (top); Edwin Scheir, 1957 (bottom). From Dorothy Giles. Designer Craftsman, USA. New York: Blanchard Press, Inc., 1953, 12 (top); American Craftsmen’s Council. Asilomar: First Annual Conference of American Craftsmen sponsored by the American Craftsmen’s Council. New York: The Council, 1957, 43 (bottom). Fig. 42 Wharton Esherick, 1957 (top); Wharton Esherick,
Load more

Recommended publications
  • Weaverswaver00stocrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • An Artists' Resume
    DANTE MARIONI Selected Museum Collections The White House Collection of American Crafts, Washington, DC Tacoma Art Museum, Tacoma, WA Seattle Art Museum, Seattle, WA Corning Museum of Glass, Corning, NY Los Angeles County Museum of Art, Los Angeles, CA The Museum of Art and Design, New York, NY Smithsonian American Art Museum Renwick Gallery, Washington, DC Carnegie Museum of Art, Pittsburgh, PA Birmingham Museum of Art, Birmingham, AL Chrysler Museum of Art, Norfolk, VA Cincinnati Art Museum, Cincinnati, OH Columbia Museum of Art, Columbia, SC The Museum of Fine Arts, Houston, TX Hunter Museum of American Art, Chattanooga, TN Racine Art Museum, Racine, WI Vero Beach Museum of Art, Vero Beach, FL Huntsville Museum of Art, Huntsville, AL Mint Museum of Craft and Design, Charlotte, NC Mobile Museum of Art, Mobile, AL Suffolk Center for Cultural Arts, Suffolk VA New Orleans Museum of Art, New Orleans, LA Philadelphia Museum of Art, Philadelphia, PA Whatcom Museum, Bellingham, WA Washington State University’s Museum of Art, Pullman, WA University of Miami’s Lowe Art Museum, Miami, FL Western Washington University, Bellingham, WA University of Missouri’s Museum of Art and Archaeology, Columbia, MO Stanford University’s Iris & Gerald Cantor Center for Visual Arts, Stanford, CA Arizona State University’s Art Museum, Tempe, AZ Montreal Museum of Fine Arts, Quebec, Canada Victoria and Albert Museum, London, England Scottish National Gallery, Edinburgh, Scotland Ebeltoft Glass Museum, Ebeltoft, Denmark National Museum if Fine Arts, Stockholm, Sweden
    [Show full text]
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • 20Th Century Art & Design Auction September 9 • Sale Results
    20th Century Art & Design Auction September 9 • Sale Results * The prices listed do not include the buyers premium. Results are subject to change. unsold $ Lot # Title high bid 088 Rookwood vase, incised and painted stylized floral 950 Darling 275 00 Gustav Stickley Morris chair, #336 0000 09 Hampshire bowl, organic green matt glaze 200 70 Frank J. Marshall box 200 002 Gustave Baumann woodblock, 5000 092 Pewabic vase, shouldered hand-thrown shape 850 7 Indiana Engraving Company print 600 004 Arts & Crafts tinder box, slanted lift top 650 093 Van Briggle vase, ca. 907-92, squat form 550 72 Hiroshige (Japanese 796-858), colorful woodblock print 005 Rookwood vase, geometric design 325 094 Hull House bowl, low form 200 600 006 Arts & Crafts graphic, 350 095 Rookwood vase, three-handled form 300 73 Arts & Crafts wall hanging, wood panel 400 007 Limbert bookcase, #358, two door form 2200 096 Gustav Stickley Chalet desk, #505 2200 74 Hiroshige (Japanese 796-858), colorful woodblockw/ 008 Gustav Stickley china cabinet 800 097 Gustav Stickley bookcase, #75 2600 Kunihisa Utagawa 450 009 Weller Coppertone vase, flaring form 250 098 Gustav Stickley china cabinet, #85 5500 75 Gustav Stickley desk, #720, two drawers 800 00 Armen Haireian vase, 275 00 Shreve blotter ends, attribution, hammered copper 400 76 Rookwood vase, bulbous shape covered in a green matt 011 Grueby vase, rare light blue suspended matt glaze 400 0 Arts & Crafts table runner, embroidered poppy designs 350 glaze 1100 02 Van Briggle tile, incised and painted landscape 200 02 Arts & Crafts blanket chest 950 77 Gustav Stickley sideboard, #89, three drawers 5000 03 Fulper vase, large tapering form 425 04 Heintz desk set, 325 78 Arts & Crafts tabouret, hexagonal top 400 04 Van Briggle tile, incised and painted landscape 2300 05 Navajo rug, stylized diamond design 450 79 Gustav Stickley Thornden side chair, #299 75 05 Newcomb College handled vessel, bulbous shape 300 06 L & JG Stickley dining chairs, #800, set of six 2000 80 Arts & Crafts tabouret, octagonal top 375 06 Van Briggle vase, ca.
    [Show full text]
  • RETROSPECTIVE BOOK REVIEWS by Esley Hamilton, NAOP Board Trustee
    Field Notes - Spring 2016 Issue RETROSPECTIVE BOOK REVIEWS By Esley Hamilton, NAOP Board Trustee We have been reviewing new books about the Olmsteds and the art of landscape architecture for so long that the book section of our website is beginning to resemble a bibliography. To make this resource more useful for researchers and interested readers, we’re beginning a series of articles about older publications that remain useful and enjoyable. We hope to focus on the landmarks of the Olmsted literature that appeared before the creation of our website as well as shorter writings that were not intended to be scholarly works or best sellers but that add to our understanding of Olmsted projects and themes. THE OLMSTEDS AND THE VANDERBILTS The Vanderbilts and the Gilded Age: Architectural Aspirations 1879-1901. by John Foreman and Robbe Pierce Stimson, Introduction by Louis Auchincloss. New York: St. Martin’s Press, 1991, 341 pages. At his death, William Henry Vanderbilt (1821-1885) was the richest man in America. In the last eight years of his life, he had more than doubled the fortune he had inherited from his father, Commodore Cornelius Vanderbilt (1794-1877), who had created an empire from shipping and then done the same thing with the New York Central Railroad. William Henry left the bulk of his estate to his two eldest sons, but each of his two other sons and four daughters received five million dollars in cash and another five million in trust. This money supported a Vanderbilt building boom that remains unrivaled, including palaces along Fifth Avenue in New York, aristocratic complexes in the surrounding countryside, and palatial “cottages” at the fashionable country resorts.
    [Show full text]
  • Graphic Recording by Terry Laban of the Global Health Matters Forum on March 25, 2020 Co-Hosted by Craftnow and the Foundation F
    Graphic Recording by Terry LaBan of the Global Health Matters Forum on March 25, 2020 Co-Hosted by CraftNOW and the Foundation for Advancement of International Medical Education and Research With Gratitude to Our 2020 Contributors* $10,000 + Up to $500 Jane Davis Barbara Adams Drexel University Lenfest Center for Cultural Anonymous Partnerships Jeffrey Berger Patricia and Gordon Fowler Sally Bleznack Philadelphia Cultural Fund Barbara Boroff Poor Richard’s Charitable Trust William Burdick Lisa Roberts and David Seltzer Erik Calvo Fielding Rose Cheney and Howie Wiener $5,000 - $9,999 Rachel Davey Richard Goldberg Clara and Ben Hollander Barbara Harberger Nancy Hays $2,500 - $4,999 Thora Jacobson Brucie and Ed Baumstein Sarah Kaizar Joseph Robert Foundation Beth and Bill Landman Techné of the Philadelphia Museum of Art Tina and Albert Lecoff Ami Lonner $1,000 - $2,499 Brenton McCloskey Josephine Burri Frances Metzman The Center for Art in Wood Jennifer-Navva Milliken and Ron Gardi City of Philadelphia Office of Arts, Culture, and Angela Nadeau the Creative Economy, Greater Philadelphia Karen Peckham Cultural Alliance and Philadelphia Cultural Fund Pentimenti Gallery The Clay Studio Jane Pepper Christina and Craig Copeland Caroline Wishmann and David Rasner James Renwick Alliance Natalia Reyes Jacqueline Lewis Carol Saline and Paul Rathblatt Suzanne Perrault and David Rago Judith Schaechter Rago Auction Ruth and Rick Snyderman Nicholas Selch Carol Klein and Larry Spitz James Terrani Paul Stark Elissa Topol and Lee Osterman Jeffrey Sugerman
    [Show full text]
  • Checklist of Anniversary Acquisitions
    Checklist of Anniversary Acquisitions As of August 1, 2002 Note to the Reader The works of art illustrated in color in the preceding pages represent a selection of the objects in the exhibition Gifts in Honor of the 125th Anniversary of the Philadelphia Museum of Art. The Checklist that follows includes all of the Museum’s anniversary acquisitions, not just those in the exhibition. The Checklist has been organized by geography (Africa, Asia, Europe, North America) and within each continent by broad category (Costume and Textiles; Decorative Arts; Paintings; Prints, Drawings, and Photographs; Sculpture). Within each category, works of art are listed chronologically. An asterisk indicates that an object is illustrated in black and white in the Checklist. Page references are to color plates. For gifts of a collection numbering more than forty objects, an overview of the contents of the collection is provided in lieu of information about each individual object. Certain gifts have been the subject of separate exhibitions with their own catalogues. In such instances, the reader is referred to the section For Further Reading. Africa | Sculpture AFRICA ASIA Floral, Leaf, Crane, and Turtle Roundels Vests (2) Colonel Stephen McCormick’s continued generosity to Plain-weave cotton with tsutsugaki (rice-paste Plain-weave cotton with cotton sashiko (darning the Museum in the form of the gift of an impressive 1 Sculpture Costume and Textiles resist), 57 x 54 inches (120.7 x 115.6 cm) stitches) (2000-113-17), 30 ⁄4 x 24 inches (77.5 x group of forty-one Korean and Chinese objects is espe- 2000-113-9 61 cm); plain-weave shifu (cotton warp and paper cially remarkable for the variety and depth it offers as a 1 1.
    [Show full text]
  • Workshops Open Studio Residency Summer Conference
    SUMMER 2020 HAYSTACK MOUNTAIN SCHOOL OF CRAFTS Workshops Open Studio Residency Summer Conference Schedule at a Glance 4 SUMMER 2020 Life at Haystack 6 Open Studio Residency 8 Session One 10 Welcome Session Two This year will mark the 70th anniversary of the 14 Haystack Mountain School of Crafts. The decision to start a school is a radical idea in and Session Three 18 of itself, and is also an act of profound generosity, which hinges on the belief that there exists something Session Four 22 so important it needs to be shared with others. When Haystack was founded in 1950, it was truly an experiment in education and community, with no News & Updates 26 permanent faculty or full-time students, a school that awarded no certificates or degrees. And while the school has grown in ways that could never have been Session Five 28 imagined, the core of our work and the ideas we adhere to have stayed very much the same. Session Six 32 You will notice that our long-running summer conference will take a pause this season, but please know that it will return again in 2021. In lieu of a Summer Workshop 36 public conference, this time will be used to hold Information a symposium for the Haystack board and staff, focusing on equity and racial justice. We believe this is vital Summer Workshop work for us to be involved with and hope it can help 39 make us a more inclusive organization while Application broadening access to the field. As we have looked back to the founding years of the Fellowships 41 school, together we are writing the next chapter in & Scholarships Haystack’s history.
    [Show full text]
  • American Craft Week Rary Art
    skilled and visionary artists. This year’s juror is Mark Leach, the Executive Director of The Southeastern Center for Contempo- American Craft Week rary Art. continued from Page 18 32 Flavors Boutique, 9525 Birkdale Cross- rary in pottery, glass, jewelry, metal, wood County craft artists, who will give tours ing Drive, Suite 102, Huntersville, NC and other media. and demonstrations at their studios. Studios (http://www.32flavorsboutique.com/) include weaving, pottery, and metalwork In celebration of American Craft Week, 32 Gingko Tree Gallery, 128 Broadway to provide a broad range of understanding Flavors Boutique will be hosting “Craftapa- Street, Black Mountain, NC (http://www. and activity. For directions and information, looza!” Saturday, Oct. 13, from 11am-4pm. artistwithcamera.com/) contact (wingedgriffinstudios@hotmail. We will have 20 area artists on the green The Gingko Tree Gallery is a photo gallery com). in front of the shop exhibiting and selling Work by Ben Owen III and custom frame shop showing the works their artwork and we will be hosting various of Joye Ardyn Durham. We have been Hand in Hand Gallery, 2720 Greenville crafting demonstrations and classes on the Ben Owen Pottery, 2199 S Pottery Hwy. serving the Swannanoa Valley and Western Hwy., Flat Rock, NC (http://www.handin- green throughout the day. Live music, kids 705, Seagrove, NC (http://www.benowen- North Carolina for more than 18 years. Our handgallery.com/) craft activities & more! pottery.com/) participation in AWC is one of celebration Hand in Hand Gallery-our 16th year offer- Ben Owen III is a potter from Seagrove. His of the American Craft.
    [Show full text]
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • Movers & Shakers in American Ceramics
    A Ceramics Monthly Handbook Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics Movers & Shakers in American Ceramics: Defining Twentieth Century Ceramics A Collection of Articles from Ceramics Monthly Edited by Elaine M. Levin Published by The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, Ohio 43082 USA The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 © 2003, 2011 by The American Ceramic Society, All rights reserved. ISBN: 1-57498-165-X (Paperback) ISBN: 978-1-57498-560-3 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review. Authorization to photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The American Ceramic Society, 600 N.
    [Show full text]